27 march 2013 madhubala biography

Indian actress (1933–1969)

Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969) was an Indian sportsman who worked in Hindi films. Loftiness country's highest-paid star in the Decennary, Madhubala appeared in over 70 films—ranging from slapstick comedies to historical dramas—in a two decade-long career.^[1] Long stern her death, she remains a Screenland icon, particularly noted for her archangel and unconventional screen persona.^[2]

Born and convex in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family like that which she was 8 years old beginning shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the analyse 1940s, and earned success with class dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a transient setback, Madhubala found continued success keep an eye on her roles in the comedies Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime films Howrah Bridge and Kala Pani (both 1958), bracket the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in decency historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and any more only nomination for the Filmfare Bestow for Best Actress; her performance has since been described by critics hoot one of the finest in Asiatic cinematic history. She worked sporadically sham film in the 1960s, making have time out final appearance in the drama Sharabi (1964). Additionally, she produced three pictures under her production house Madhubala Undisclosed Ltd., which was co-founded by see in 1953.

Despite maintaining strong retirement, Madhubala earned significant media coverage keep her charity work and personal insect. In the early 1950s, she difficult to understand a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She connubial actor-singer Kishore Kumar in 1960. All through her adult life, Madhubala suffered propagate recurring bouts of breathlessness and symptom caused by a ventricular septal lack, ultimately leading to her death lose ground the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Brits India, on 14 February 1933. She was the fifth of eleven posterity of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Muhammadan (b. 1925), Altaf (b. 1930), Chanchal (b. 1934) and Zahida (b. 1949).^[a] Khan, who belonged to the Yusufzai tribe of Pashtuns from Peshawar valley, originating from Swabi District, North-West Frontier Province^[9] was archetypal employee at the Imperial Tobacco Company.^[9] Unknown to her family members, Madhubala was born with a ventricular septate defect, a congenital heart disorder which had no treatment at the time.^[11][12]

Madhubala spent most of her childhood boil Delhi and grew up without absurd kind of health issues. Owing come close to the orthodox ideas of their Moslem father, neither Madhubala nor any admire her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, similarly well as her native language, Pashto, misstep her father's guidance.^[15] An avid take viewer since the beginning, she tattered to perform her favourite scenes follow front of her mother and expend her time dancing and imitating integument characters to entertain herself. In spitefulness of her conservative upbringing, she admiration to become a film actor—which gather father strictly disapproved of.

Khan's decision denatured in 1940 after he got pinkslipped from his job for misbehaving cede a senior officer. Madhubala's mother wince at ostracism if they allowed their verdant daughter to work in the recreation industry, but Khan remained adamant. In a minute Madhubala was employed at the Dropping off India Radio station to sing compositions of Khurshid Anwar. The seven-year-old enlarged working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, integrity general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala come to rest suggested Khan to visit Bombay annoyed better employment opportunities.

Acting career

Early work stream switch to adult roles (1942–1947)

In say publicly summer of 1941, Khan along cop Madhubala and other family members move to Bombay and settled down confine a cowshed present in the Malad suburbs of Bombay. Following an consent from the studio executives, Chunnilal symbol Madhubala to a juvenile role divide Bombay Talkies' production, Basant (1942), bear a salary of ₹150. Released dupe July 1942, Basant became a important success commercially,^[18][22] but although Madhubala's labour garnered appreciation, the studio dropped give someone his contract as it did not call for a child actor at that repulse. Disappointed, Khan had to once pick up where you left off return his family to Delhi. Perform subsequently found low-paid temporary jobs scam the city, but continued to thrash financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to muster Madhubala for role in Jwar Bhata (1944). Madhubala did not get birth role but Khan now decided match settle permanently in Bombay seeing keen prospect in films. The family moreover returned to their temporary residence market Malad and Madhubala along with ride out father began paying frequent visits fit in film studios throughout the city critical search of work. She was in a little while signed to a three-year contract enrol Chandulal Shah's studio Ranjit Movietone, loan a monthly payment of ₹300. Say no to income led to Khan shifting blue blood the gentry family to a neighbouring rented line in Malad.

In April 1944, the rented house was destroyed in a shipment explosion; Madhubala and her family survived only because they had gone match a local theatre. After shifting link her friend's house, Madhubala continued dead heat film career,^[30] playing minor roles exterior five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" develop all of them. She faced abundant problems in these years; during position shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her ailment that was slowly taking root. Mop the floor with 1946, she had to borrow suffering from a film producer for righteousness treatment of her pregnant mother. Burning to establish a foothold in authority industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to excellence her introduction to the silver-screen make known adult roles.^[34]

Madhubala's first project in tidy lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until primacy next year).^[35][36] Her debut as smashing leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor allow Begum Para.^[36] She was offered leadership film after Sharma's first choice, contestant Kamla Chatterjee, died. Released in Step 1947, Neel Kamal was popular block audience and garnered wide public appreciation for Madhubala. She then reteamed channel of communication Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the mass year.^[30] These films were unsuccessful ventures that failed to propel her duration ahead. During this period, she difficult to understand to charge a relatively lesser highest than her usual fee to invite more offers. To secure her financially, Madhubala quickly signed 24 big screen. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested gibe to take up "Madhubala" as repel professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical paramount commercial success in the drama Lal Dupatta, which The Indian Express suss out as a breakthrough for her.^[30]Baburao Patel described the film as "the pull it off milestone of her maturity in comb acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played undiluted femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were reputed for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant boy in an ancient mansion, whose pretensions of an apparition lead to agonized consequences. The film was produced carelessness a modest budget due to monetary constraints, with trade analysts predicting drop to be a failure owing cope with its unconventional subject.^[48]Mahal was released outing October 1949 and proved to remedy an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's unenlightenment among audience added to the solid nature of her character.^[46] The layer, which would be Madhubala's first have a good time many collaborations with actor and brother-in-law Ashok Kumar, emerged as the ordinal biggest box-office success of the harvest, resulting in her signing a faithful of starring roles opposite the cover actors of the time.^[50]

Following another busybody office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Teenaged. Amarnath's social drama Beqasoor (1950). Character feature received positive reviews and hierarchal among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared unite the comedy-drama Hanste Aansoo, which became the first Indian film to suit awarded an Adult certification.^[54] The mass year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), practised remake of The Adventures of Redbreast Hood. Her portrayal of a potentate who ignorantly falls in love date Prem Nath's character received mixed reviews; a critic praised her looks nevertheless advised her to "learn to asseverate her dialogue slowly, distinctly and magnanimous instead of rattling through her remain in a monotone." She subsequently played depiction titular part in M. Sadiq's affaire de coeur Saiyan, which Roger Yue of The Singapore Free Press commented was artificial "to perfection".^[57] Both Badal and Saiyan proved to be major box-office successes.^[58] Madhubala then collaborated with actor Dilip Kumar twice in a row, calibrate the 1951 comedy Tarana and dignity 1952 drama Sangdil. These films besides performed well financially, popularizing the avoid and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the get the better of performance of her screen career rip open this picture. She seems to enjoy discovered her soul at last trauma Dilip Kumar's company."^[63]

Madhubala was see in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Clear April 1953, Madhubala founded a barter company called Madhubala Private Ltd.^[66] Glory following year, while shooting in State for S. S. Vasan's Bahut Clatter Huwe (1954), she suffered a senior health setback due to her programme disease. She returned to Bombay provision completing the film and took excellent short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala afterward starred in another film of 1954—Mehboob Khan's Amar, portraying a social working man involved in a love triangle at an advantage with Dilip Kumar and Nimmi. Madhubala improvised a scene from the film.^[70] It was unsuccessful at the box-office.^[72] Nevertheless, Rachit Gupta of Filmfare declared that Madhubala overshadowed her co-stars standing "floored her role with a nuanced performance."^[73] Writing for Rediff.com in 2002, Dinesh Raheja described Amar as "arguably Madhubala's first truly mature performance" pivotal particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next assist was her own production venture, Naata (1955), in which she co-starred make contact with her sister Chanchal. The film fall over with a tepid response and departed a lot of money, compelling Madhubala to sell her bungalow Kismet calculate recover the loss.

Madhubala made a return in 1955 with Guru Dutt's wit comedy Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her basic success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who assessment forced by her aunt into top-hole sham marriage with Dutt's character. Harneet Singh of The Indian Express denominated Mr. & Mrs. '55 "a sum ride" and acknowledged Madhubala's "impish cajole and breezy comic timing" as predispose of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra turning over the location shoot of Naya Daur, in which Madhubala was cast standing play the female protagonist. Citing weaken as uncooperative and unprofessional, Chopra replaced Madhubala with Vyjayanthimala and further sued the former for ₹30,000 in damages.^[80] The lawsuit continued for about stack months amidst public scrutiny before Chopra withdrew it after Naya Daur got released.

Subsequently in the years 1956–57, Madhubala reduced her workload due to illustriousness lawsuit and health issues. She pole Nargis were approached by Guru Dutt to play either of the twosome female leads (an unfaithful girlfriend collaboration a hooker with a heart obvious gold) in his production, Pyaasa (1957). Unable to choose between the couple leading roles, the actresses passed wrap up the film to the newcomers Bone Sinha and Waheeda Rehman.^[83][84] Madhubala exposed in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The pursuing year, she portrayed a runaway inheritrix in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot alleged to be one of the first-rate performances of her career.^[87] Madhubala hence starred in the drama Ek Saal (1957), which follows the love forgery of a terminally-ill ingenue.

Mughal-e-Azam and spread commercial success (1958–1962)

Madhubala began the class 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing exceeding intrepid journalist investigating a 15-year-old murder.^[89] She was then cast as Edna opposite Ashok Kumar in Howrah Bridge (1958), her first collaboration with leader Shakti Samanta. Madhubala waived her fees to play the role of lever Anglo-Indiancabaret dancer, which marked a alteration from her previous portrayals of experienced characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for arrangement and became two of the year's top-grossing films.^[73] She followed this happiness with the box office hit Phagun (1958).^[92] In her final release simulated 1958, Madhubala portrayed a wealthy give woman involved in a love interest with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one imitation the biggest money-making films of authority 1950s.^[94]Dinesh Raheja of Rediff.com referred agree it as the "fifties jest-setter", estimate that Madhubala "exudes oodles of affinity and her giggles are infectious."^[95] Scribble literary works for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's natural feeling in Chalti Ka Naam Gaadi variety "a top favourite": "Her breezy reputation stands out as that rare sample of an independent, urban woman. [...] For me, Madhubala is the mush of the original celluloid diva."^[96]

Her following collaboration with Samanta, Insan Jaag Utha (1959), was a social drama ep in which the protagonists work cult the construction of a dam.^[97] Neat modest success, its critical reception has improved over years.^[77][98] Rachit Gupta salary Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance style Gauri, a village belle, as memory of her finest works.^[77][73] Further acquit yourself 1959, she received praise for gig dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Being, Her Films (1997), called her rotate as "a polished performance, particularly consign the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed wishywashy the second film of Madhubala Undisclosed Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the stem office.

Journalist Dinesh Raheja has described Puerile. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the layer revolves around a 16th-century court cooperator, Anarkali (Madhubala), and her affair block the Mughal prince Salim (Kumar). On account of the mid-1940s, Asif had rejected frequent actresses for the part of Anarkali.^[104] Madhubala had joined the cast get the picture 1952 with an advance payment be keen on Rs. 1 lakh—the highest for considerable actor or actress until then. Dignity filming period proved to be taxing.^[106] Her relationship with Kumar ended between shooting and there were reports show consideration for animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to beat off. She fell under the weight reduce speed iron chains, extinguished candles with decline palm, starved herself for days finished depict anguishness in particular scenes other had continuous water flung at renounce face and whole body painted. Description decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both kin and mentally, to a point prowl she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films stop in full flow colour; it had four reels cannonball in Technicolor. The film had decency widest release of any Indian skin up to that time, and business often queued all day for tickets.^[111] Released on 5 August 1960, be with you broke box office records in Bharat and became the highest-grossing Indian film of many time, a distinction it would undertake for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Ceremonial Film Award for Best Feature Vinyl in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. Calligraphic reviewer for The Indian Express commented, "Scene after scene bears testimony keep the outstanding gifts of Madhubala by reason of a natural actress [...] The become rancid she presents Anarkali's changing moods owing to she passes through the lightning vicissitudes in her life is superb."^[117]

The good of Mughal-e-Azam resulted in a loyal of offers in major roles, on the contrary Madhubala had to refuse them in good health to her heart condition.^[118] She in mint condition withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and fleece untitled film with Kishore Sahu.^[119][120] She did, however, have a few restore releases, which were completed either strong body doubles or by Madhubala in the flesh. In late 1960, Madhubala was sui generis in Shakti Samanta's crime film Jaali Note, based on the theme donation counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com take her role as "sketchy" and make imperceptible the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring separate in the musical Barsaat Ki Raat (1960) was better received.^[73] The circumstance was the year's second-highest-grossing film, last only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] long forgotten Venkat Parsa of The Siasat Daily noted the rebellious nature of jettison character, Shabnam, who elopes with in return lover (played by Bharat Bhushan) stern her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam captain Barsaat Ki Raat established Madhubala translation the most successful leading lady promote 1960.^[125] She subsequently discontinued her calling and only preferred starring as adoration interests in a few films, counting the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), additional the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing oeuvre of the year.^[127][128]Half Ticket, her latest collaboration with husband Kishore Kumar was a critical and commercial success since well.^[129] Sukanya Verma called the pick up one of her most favourite comedies of all time, praising the "palpably fond chemistry" between Madhubala and Kishore.^[130] Also released in 1962 was Madhubala Private Ltd.'s third and last appearance, Pathan, which turned out to suit a box office flop.

Sabbaticals and farewell work (1964–1969)

Following a sabbatical of years, Madhubala completed Sharabi in 1964; the film would go on truth become her final release in have a lot to do with lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor mend Rediff.com called Sharabi a "fitting inference to a luminous career, showing justness actress at her most beautiful come first her most effective, a heroine fated not to age in any rule our eyes."^[134]

Two years after Madhubala's eliminate, one of her incomplete works, Jwala (1971) was released. Co-starring Sunil Dutt and Sohrab Modi, the film was mainly completed with the help lay out body doubles. It marked Madhubala's in reply screen role.

Personal life

Born in an received Muslim family, Madhubala was deeply unworldly and practiced Islam since her babyhood. After securing her family financially twist the late 1940s, she rented a-ok bungalow on Peddar Road in Bombay and named it "Arabian Villa". Take off became her permanent residence until passing away. She learnt driving at the cast a shadow over of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Township & Country (which was owned hard only two people in India conclude that time, the other one gaze the Maharaja of Gwalior).^[137] As unmixed native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the dialect in three months. She also unbroken eighteen Alsatian dogs as pets as a consequence Arabian Villa.^[140]

In 1950, Madhubala was diagnosed with an incurable ventricular septal flaw in her heart; the diagnosis was not made public as it could jeopardize her career.

Philanthropy

She performed actively hassle charity, which led editor Baburao Patel to call her the "queen close the eyes to charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu extra Kashmir relief fund, and ₹50,000 in line for the refugees from East Bengal.^[145] Madhubala's donation sparked off a major investigation due to her religious beliefs suffer received wide coverage in the transport at that time.^[143] Subsequently, she aloof her charity work guarded and congratulatory anonymously.^[143] In 1954, it was leak out that Madhubala had been regularly coarse monthly bonuses to the lower standard of her studios. She also skilful a camera crane to the Coating and Television Institute of India uphold 1962, which is operational even today.^[147]

Friendships

When she was a minor and be given Delhi, Madhubala had a close keep a note of named Latif, to whom she lefthand a rose before her family change place to Bombay. While working as a-okay child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child player of that time, who later grew up as actress Meena Kumari.^[148] In spite of their professional rivalry, Madhubala shared pure cordial relationship with Kumari as be a smash hit as other female stars, such pass for Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with leadership press, Madhubala established a friendship interview journalist B. K. Karanjia, who became one of the few people albatross his profession to be allowed core Arabian Villa. Sarla Bhushan, the mate of Bharat Bhushan, with whom Madhubala had a special bond, died get into labour complications in 1957, much cue her distress. Madhubala was also storage space to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours in respect of her being emotionally involved with them, her younger sister Madhur Bhushan has refuted such claims.^[151] On the sets of Mughal-e-Azam (1960), Madhubala often make self-conscious lunch with Zulfiqar Ali Bhutto, undiluted Pakistani barrister who later served reorganization the country's Prime Minister. He second-hand to visit the sets especially characterize Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.^[153]

Relationships and marriage

Madhubala's first relationship was with her Badal co-star Prem Nath, in early 1951. They dated for six months a while ago differences figured out due to religion—Nath was a Hindu.^[14] Although the conceit fizzled out soon, Nath nevertheless remained close to Madhubala and her dad Ataullah Khan for the rest matching their lives. Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had earlier tumble working on Jwar Bhata (1944).^[156] Their affair went on to receive state media attention throughout the decade.^[157] Flush had a positive impact on Madhubala and her friends have recalled grandeur following few years as the happiest of her life.

As their relationship progressed, Madhubala and Dilip got engaged on the contrary could not marry as Khan locked away some objections.^[159] Khan wanted Dilip humble act in his production house's big screen, which the actor refused. Also, Dilip specified to Madhubala that if they were to marry, she will take to sever all ties with have time out family. She parted ways with him in 1957 amidst the court overnight case over the production of Naya Daur (1957).^[161] Dilip testified against her dispatch Khan in court, which left Madhubala devastated.^[162][c] In the meantime, Madhubala was proposed marriage by three of disown co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both worldly whom had previously been married.

On justness sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship change Kishore Kumar,^[95] who was a ancy acquaintance. They went on to behind the times for two years and had unadulterated court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Mohammedanism to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by show father, as well as her in-laws who had not expected their individual to marry a Muslim. Madhubala impressive Kishore also came to be advised a mismatch in the industry exam to their contrasting personalities.

Health deterioration skull final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled message London along with her doctor Rustom Jal Vakil, combining their honeymoon meet the specialised treatment of Madhubala's interior disease, which was aggravating rapidly. Change into London, doctors refused to operate world power her, fearing complications, and instead wise Madhubala to avoid any kind supporting stress and anxiety. She was dissuaded from having any children and delineated a life expectancy of two Madhubala and Kishore subsequently returned tell off Bombay and she shifted to Kishore's home in Bandra. Her health drawn-out declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her malady turned her into a "bad-tempered" myself and she spent most of in exchange time in her father's house.^[180] Pull out escape the bitterness of her in-laws due to religious differences, Madhubala late moved into Kishore's newly bought lacklustre at Quarter Deck in Bandra.^[7] On the contrary, Kishore stayed in the flat single for a short period and exploitation left her with a nurse bear a driver.^[7] Although he was end result all her medical expenses, Madhubala change abandoned and returned to her reject house in less than two months of her marriage. For the nap of her life, he visited team up occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach child from her so that the concluding separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have partially recovered and decided to return arrangement film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the diligence. Her comeback was welcomed by magnanimity media, but Madhubala immediately fainted importance the shoot began; the film was thus never completed. She was later hospitalized in the Breach Candy Dispensary, where she met her former follower Dilip Kumar and returned home back being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's low tone, but it further exacerbated her problems.

Madhubala spent her final years bedridden person in charge lost a lot of weight. Amass particular fascination was Urdu poetry most important she regularly watched her films (particularly Mughal-e-Azam) on a home projector.^[14] She grew very reclusive, meeting only Geeta Dutt and Waheeda Rehman from interpretation film industry in those days.^[186] She had to undergo exchange transfusion wellnigh every week.^[14] Her body began construction excess blood that would spill allocate of her nose and mouth; Vakil had to thus extract the class to prevent complications, and an o cylinder had to kept by troop side as she often suffered running away hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film train and began preparing for her at fault debut, titled Farz aur Ishq, in Feb 1969.^[12]

Death

By early 1969, Madhubala's health was in serious and major decline: she had just contracted jaundice and sully urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack emit the midnight of 22 February. Abaft struggling for few hours amongst accumulate family members and Kishore, she convulsion at 9:30 a.m. of 23 February,^[8] one nine days after turning 36. Madhubala was buried at Juhu Muslim Boneyard in Santacruz, Bombay along with move together personal diary.^[193] Her tomb was constitute with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's truancy from the social scene for approximately a decade, her death was apparent as unexpected and found wide guarantee in the Indian press.The Indian Express recalled her as "the most superb Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck xii too soon". A number of turn thumbs down on co-workers including Premnath (who wrote top-notch poem dedicated to her), B. Teenaged. Karanjia and Shakti Samanta expressed their grief over her premature death. Talk columnist Gulshan Ewing commented in keen personal farewell titled "The Passing rule Anarkali", writing, "She loved life, she loved the world and she was often shocked to find that the world did not always love her back. [...] To her, all life was love, all love was life. That was Madhubala—loveliest of the shining stars."

In 2010, Madhubala's tomb along with those of bottle up industry stalwarts, including Mohammed Rafi existing Sahir Ludhianvi, was demolished to trade mark room for new interments. Her leftovers were placed at an unknown location.^[200]

Public image

Madhubala was one of the outdo celebrated film stars in India stick up the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed respite for a feature in the Denizen magazine Life, which described her orangutan the biggest star in the Amerindian film industry at that time.^[203] Accumulate fame reached beyond India as well: director Frank Capra offered her wonderful break in Hollywood (which her sire declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest familiarity in the world—and she's not rotation the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base even to the combined population of rectitude contemporary United States and western Accumulation, and also reported her popularity steadily countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan mass in Greece.^[205]

Dilip Kumar described Madhubala tempt "the only star for whom get out thronged outside the gates." Her make selfconscious was acknowledged by Time magazine besides, which went on to call quota a "cash and curry star" engage its January 1959 issue.^[207][208] In pictures, she was often billed before character leading man, and web portal Rediff.com mentioned her as a more stalwart celebrity than her male contemporaries.^[209][210] Comply with Mahal (1949), her first film drape a major production company, Madhubala was paid a sum of ₹7,000. Righteousness film's success established her career type a leading lady,^[212] and she briefly became one of the highest-paid Asiatic stars of the upcoming decade.^[57] Comport yourself 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an unique amount of ₹3 lakh for torment decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Casket Office India's list of top turn from 1949 to 1951, and evacuate 1958 to 1961.^[125] Madhubala's beauty accept physical attractiveness were widely acknowledged, ahead led the media to refer lowly her as "The Venus of Asian cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called their way "the number one beauty of depiction Indian screen".^[217] Several of her co-workers cited her as the most good-looking woman they ever saw.^[218]Nirupa Roy thought that "there never was and not at any time will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a wakeful night after her first meeting parley Madhubala.^[218] In 2011, Shammi Kapoor celebrated to falling in love with give something the thumbs down during the shoot of the 1953 film Rail Ka Dibba: "Even at present ... I can swear that Uproarious have never seen a more lovely woman. Add to that her cornered intellect, maturity, poise and sensitivity ... When I think of her securely now, after six decades, my station misses a beat. My God, what beauty, what presence."^[219] Due to prudent perceived appeal, Madhubala became one look up to the brand ambassadors of beauty gain by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more space her than physical beauty.^[2]

From the outset of her career, Madhubala gained straight reputation for avoiding parties and dissenting interviews, leading her to be marker recluse and arrogant. On an characteristic instance in 1958, her father regular wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, confound disallowing Madhubala to attend Nehru's unauthorized function where she was invited.^[137] Accepting been a part of the coat industry since childhood, Madhubala saw ethics social scene as superficial and verbalised her despise of "the kind be proper of functions where only the current favourites are invited and where a period or two hence I would clump be invited." In a two decade-long career, Madhubala was seen at position premieres of only two films—Bahut Racket Huwe (1954) and Insaniyat (1955)—both aim for personal reasons.^[e] Her regular photographer, Pack Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which wreckage also reflected in Ashokamitran's statement unfolding her as an inarticulate and emotive person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and supposed that her friend "was none advance these."Nadira added that Madhubala "had a strain of pettiness, of anything small. That girl did not bring up to date anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in complex thinking and particular about her fortunate thing of life and her position up-to-date the film industry."

Madhubala's refusal to confer interviews or to interact with character press drew in extreme reactions get round its members. By early 1950, Caravansary had begun asserting in her single contracts that no journalists would have on allowed to meet her without crown permission.^[f] When shortly after Madhubala declined to entertain a set of sojourning journalists on set, they started hurtful her and her family and newfound placed a bounty to behead dispatch kill her. For self-protection, Madhubala was given the permission to carry uncomplicated revolver and move around under accoutred protection by the state government, in a holding pattern Khan and other journalists ultimately thankful a settlement. Her relationship with dignity press remained bitter, nevertheless, and she was regularly pointed out by beckon for her religious beliefs and professed arrogance.^[1] Another major controversy she upright during her career was the Naya Daur civil war fought against Left-handed. R. Chopra, which Bunny Reuben mentions in his memoir as "the overbearing sensational court case ever to bait fought in the annals of Soldier cinema."

Regardless of all these dissensions, Madhubala was known in the media brand a disciplined and professional performer, plus Kidar Sharma (director of the 1947 film Neel Kamal) recalling her perfectly days in the industry, "She artificial like a machine, missed a dinner, travelled daily in the over-crowded third-class compartments from Malad to Dadar unacceptable was never late or absent proud work." Anand said in a 1958 interview, "When Madhubala is on rectitude set, one often goes much vanguard in the schedule." Except for decency filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never legalized Madhubala to work in nights. Disdain medical precautions, she performed even wearing scenes by herself, such as evidence complicated dances, wearing iron chains duplicate of her body weight and obtaining ancestry wet in water.^[241][242]

Artistry and legacy

Acting neaten and reception

In a 22-year-long career, Madhubala acted in almost every film classification, ranging from romantic musicals to mysterious comedies, and crime thrillers to chronological dramas.^[244] The author of Celebrities: Undiluted Comprehensive Biographical Thesaurus of Important Soldiers and Women in India (1952), Jagdish Bhatia noted that Madhubala turned respite disadvantages into advantage and despite turn thumbs down on non-filmy background "rose to be of a nature of the most talented female stars of the industry." Baburao Patel, script book for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A broadcast of her directors including Sharma, Sakti Samanta and Raj Khosla spoke immensely of her acting talents on puzzle occasions. Ashok Kumar described her trade in the finest actress he ever stilted with, while Dilip Kumar wrote break off his autobiography that she was "a vivacious artiste ... so instantaneous update her responses that the scenes became riveting even when they were activity filmed ... she was an trouper who could keep pace and happen on the level of involvement demanded indifferent to the script."^[248]

Writing retrospectively for The Creative York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing high-mindedness limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing hound than just looking good and mourning buckets."^[250] Madhubala was acknowledged in character media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer arbitrate Howrah Bridge (1958)—which led Filmfare appraise compare her with Rita Hayworth leading Ava Gardner^[73]—a rebellious and independent dame in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer compromise Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also archaic noted by modern-day critics for give offbeat and significantly different from integrity usual portrayals of female characters clump Indian cinema. Madhubala has also anachronistic credited for introducing several modern styles, such as trousers (for females) roost strapless dresses in Bollywood.^[255][256] Her noticeable wavy hairstyle was referred to monkey "the out-of-the-bed look" and further implanted her screen persona as a instinctive and independent woman.^[257][256] David Cort summarized her as "the ideal of magnanimity free Indian woman or what Bharat hopes the free Indian woman determination be."^[1]

Madhubala had the shortest career between her contemporaries, but by the at a rate of knots she quit acting, she had by this time successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her virile co-stars—which has otherwise been a rarity—and she has also been credited endorse being one of the earliest personalities who, in the era of reprieve communication, took the position of Amerindian cinema to global standards.^[259] Moreover, stay Bahut Din Huwe (1954), Madhubala became the first Hindi actress to be born with a career in south Indian cinema.Jerry Pinto has cited Madhubala as skin texture of the earliest Bollywood actresses who created a 'distinct sex symbol' get by without "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the top sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number for votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Uproarious guess, it's about beauty. And in attendance weren't many who could match make somebody's acquaintance to the ethereal Madhubala."^[263][g]

Although Madhubala exposed in almost all film genres meanwhile her career, her most notable movies included comedies. She gained recognition convey her comic timing after her aid in Mr. & Mrs. '55 (1955),^[265] which Iqbal Masud of India Today call "a marvellous piece of sexy-comic acting."^[266] However, despite her success pointer fame, she neither received any feigning award nor critical acclaim. Several critics have stated that her perceived ideal was an impediment to her craftsmanship to be taken seriously.^[268][269] Madhubala wished to play more dramatic and author-backed roles, but was often discouraged. According to Dilip Kumar, audience "missed make on a lot of her succeeding additional attributes." Biographer Sushila Kumari said digress "people were so mesmerised by concoct beauty that they never cared tutor the actress",^[153] and Shammi Kapoor become skilled at of her as "a highly underrated actress in spite of performing ever well in her films."^[272]

Madhubala's talents were first acknowledged after the release take off Mughal-e-Azam (1960),^[273] but it turned thrash to be one of her closing films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances hard Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure bit Indian cinema.^[276] One of the delusory scenes from the film, in which Dilip Kumar brushes Madhubala's face information flow a plume, was declared the height erotic scene in Bollywood's history lump Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical reaction improved in the 21st century,^[268] not in favour of Khatija Akbar noting that Madhubala's "brand of acting had an underplayed wallet spontaneous quality. Anyone looking for critical histrionics and laboured 'acting' missed dignity point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her lightly raised eyebrows than most performers could with a raised voice" and "knew the knack of conveying her character's inner-most feelings."^[280]Priya Ramani of Mint added: "You only had to slip breather into a wet sari, ask second to lean invitingly into the camera or hand her co-star a plume, and you could comfortably forecast lapse the cinematic sigh would resonate preventable at least a hundred years."^[273] Newshound Rauf Ahmed added Madhubala on sovereign "Biggest stars in Hindi filmdom" lean and noted: "Madhubala symbolised ultimate celestial being. Which in a way undermined restlessness merit as an actress. She imparted a lot of sizzle and mischief to her performances in films regard Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has filthy fans of all different ages, both younger and older. She is proper even by those who are unknown with vintage cinema and has loads of fan sites dedicated to uncultivated on the social media.^[283] Modern magazines continue to publish stories on on his personal life and career, often reassurance her name heavily on the bed linen to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator discern many iconic fashion styles, such on account of wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring currency, News 18 wrote, "the cult promote Madhubala is a difficult thing accept match up to."^[284] Several modern-day celebrities, including Aamir Khan, Hrithik Roshan,^[285]Shah Rukh Khan, Madhuri Dixit,^[286]Rishi Kapoor^[287] and Naseeruddin Shah rank Madhubala among their favorite artistes staff Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala prep added to surmised the reason behind her enlarged relevancy among new generation:

Today, teenagers identify with the insecurities she fleeting with in her youth, like pimples and hair issues. Others relate ascend her for being the poster-girl be keen on an era when curvy bodies were considered normal and even sensuous. Irksome, simply, love her for being emblematic excellent actress—one who will never adjust matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth occasion, Nivedita Mishra of Hindustan Times asserted Madhubala as "by far, the heavyhanded iconic silver screen goddess India has produced."^[289] In the decades following tea break death, she has emerged as separate of the most celebrated personalities sheep the Indian cinematic field,^[2][290] and need reputation has endured.^[283] Also in polls and surveys, she is described significance one of India's finest and chief beautiful actresses of all-time.^[h] Khatija Akbar,^[285]Mohan Deep and Sushila Kumari have along with written books about her.^{[266][301][153]}

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, inclusive of Basant (1942), Neel Kamal (1947), Mahal (1949), Badal (1951), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Kala Pani (1958), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960), Barsaat Ki Raat (1960), Half Ticket (1962) and Sharabi (1964). Crack up seventy-third and last film was depiction posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) swallow Pathan (1962). For her work see the point of Mughal-e-Azam, Madhubala was nominated for Filmfare Award for Best Actress; it was the only nomination she ever received.

Tributes and honours

As a tribute to Madhubala, Mandoubala